Special thanks to everyone who helped to make DIY DAYS SF a success. These events would not be possible without the support of volunteers - all of the staff, tech team, and camera folks donate their time and skills. If you’d like to volunteer your skills we’re looking for people to help with NYC and Boston. Drop us an email if you’re interested.
DIY DAYS is headed to NYC. We’re in the process of finalizing plans for a different format. This time around we’ll be holding a dinner with a collection of interesting guests from various industries. The conversation will be documented and streamed live. Stayed tuned for more details.
Meanwhile content from SF will be filtering out across the web in the coming days and we still have quite a bit to share from LA. In LA, Robert Greenwald gave the following opening keynote. For more on Robert and his work visit www.bravenewfilms.com and www.robertgreenwald.com
Lance Weiler details his cinema ARG experiments which have surrounded the release of his feature film Head Trauma. A collision of music, gaming, film and technology - the cinema ARG enables storytelling across platforms while also reaching into the real world. Lance explains how he turned a promotion for Head Trauma’s VOD release into its own intellectual property.
You are now entering the world of M dot Strange you might feel a little freaked out but it’s okay you’re in the good hands. M dot Strange is a mixed media animator from San Jose, Ca. He recently singlehandedly completed an 88 minute animated film entitled “We are the Strange” which made its world premiere in January of this year at the Sundance Film Festival. A reviewer that saw the film M dot made in his bedroom with 9 PC’s over the course of 3 years said “it looked like something Hollywood would make for 70 million” He has recently been featured in the NY Times, ABC World News , Wired.com and his youtube videos have been viewed over a million times.
It was the end of DIY DAYS LA and the mics began to drop like flies. In the end we were left with a single mic for five people.
PANEL DESCRIPTION: The future of independent film is not in content aggregation, which is quickly becoming commoditized, but in audience aggregation. Sustainability for filmmakers lies directly in the hands of the audience. Direct to audience models have shaken the core of the music industry. But the power of Kevin Kelly’s “1,000 true fans” seems good in theory but where do you start? What are the steps to building an audience around your work and most importantly how do you keep the conversation going? Discussion Leader: Saskia Wilson-Brown (Current TV) - Arin Crumley (Four Eyed Monsters) - Micki Krimmel (expert in social media and online community) - Alex Johnson (digital media strategist / filmmaker) - Lance Weiler (The Last Broadcast, Head Trauma)
DIY DAYS LA - When the Audience Takes Control - panel
Thanks to all the people that helped to make DIY DAYS LA such a success. Over the course of the day over 300 people attended the event for a day of keynotes, panels and case studies. Special thanks to Not a Cornfield and Current TV for helping to make the event a reality.
DIY DAYS provided an excellent kick off to the From Here to Awesome discovery and distribution fest. The films are currently available through a number of outlets. More outlets both online and offline will be added in the coming weeks. The festival will run for the next six months and showcases 12 features and 10 shorts that were programmed based on audience demand.
Marshall Herskovitz giving a keynote about the creation of Quarterlife - photo credit Mike Hedge
In an effort to share as much of DIY DAYS as quickly as possible, we have started to upload some simple single camera footage. When we have more time we’ll be cutting together the multi camera footage. Feel free to embed and spread it. The main goal of DIY DAYS is to spread info that helps storytellers to fund, create, distribute and sustain. It is an experiment and what we hope will become an ongoing discussion as DIY DAYS events take place in SF, Boston, NYC, and London over the next few months. We welcome your comments, suggestions and encourage you to share info about your work and the way you make it.
Next up is DIY DAYS San Francisco on Sunday August 17th @ 111 Minna Gallery. The event is free but space is limited make sure to register to secure your spot. On August 15th we’ll be stagging a series of special FHTA screenings. More details soon.
Finally check back often because we’ll be releasing the keynotes, panels and case studies over the coming days.
DIY DAYS LA - Arin Crumley FOUR EYED MONSTERS case study
The future of independent film is not in content aggregation, which is quickly becoming commoditized, but in audience aggregation. Sustainability for filmmakers lies directly in the hands of the audience. Direct to audience models have shaken the core of the music industry. But the power of Kevin Kelly’s “1,000 true fans” seems good in theory but where do you start? What are the steps to building an audience around your work and most importantly how do you keep the conversation going?
Discussion Leader: Saskia Wilson-Brown (Current TV)
- Arin Crumley (Four Eyed Monsters)
- Miki Krimmel (expert in social media and online community)
- Alex Johnson (digital media strategist / filmmaker)
- Lance Weiler (The Last Broadcast, Head Trauma)
audience aggregation, positioning your film to bring people together, fans swarming around your film
get people’s information while they’re swarming around your film (or give them your info)
look at the conversation between movies and audiences and find ways to keep the conversation going
profile your core audience and build experiences around them
look at the habits of the audience
you don’t need to be everywhere you need to find out where its best to be, where your people are
you don’t build a community, you serve a community.
give people a reason to return, make a two sided thing, its a conversation.
Give the audience some empowerment on your site. People want to contribute, they ust need easy guidelines to do so.
When you do it effectively people will want to share the experience
ask what you would want people to be saying to you
get people involved really early, before production, not after. Engage people from the very beginning.
the most popular social tools are usually the best because they’re so popular (users, search ranking)
put your assets (publicity, reviews, links, etc) in one place online so you always have easy access for your next project (impressing actors, investors) and for creating a history for your current project
spend time thinking about what your brand is (what words people use to describe you) and what communities fit your brand
be honest, but be prepared that not everyone in your audience is going to agree with you (gain a think skin, sometimes they’ll revolt)
if the tools are there, then there’s no reason why we [filmmakers] can’t cross-pollinate our audiences. That’s why the studios are so popular because they have a catalogue of movies.
the tools are easy, the maintenance and value upkeep of audiences is hard
sustainability can come from filmmakers helping each other rather than competing with each other
Lance Weiler - EXTENDING THE STORYWORLD case study (Head Trauma)
content producers typically think about the audience after the movie is finished, I created digital assets before the movie was even made
web comic, showed movie’s assets to show to potential audience members
put the audience in the shoes of the protagonist
because of the world I created around the film that people started seeing the value in it
festivals as a springboard to a platform release, got attendees to experience the story in a meaningful way by opting into a game with the nemesis of the movie
looped answers to the questions asked over the phone back to their computer speakers while they’re on the website
moving a story or a ame across multiple platforms and into the real world
Flash mob zombie game, bridging story world with the real world
live screenings of movie with score played live, characters emerge from audience, text messages sent to audience mobile phones
how can this story reach into the real world? Some of the audience are looking for something more from their entertainment. They’re looking to be involved.
web series to promote the movie who’s story line only lightly touches on the movie itself. Protagonist asks the web audience for help solving the clues. Solving the clues leads to information for secret screenings
Promotion can now be turned into its own intellectual property
I got into writing because i didn’t want to work in an office and have a boss, can’t do that with how networks are run today
called in every favor of the last 20 years to make the quarterlife pilot knowing that he would break it up to be viewed on the web
could we bring the knowledge we had of television production and bring it to the web? No. But we could do it for the internet for 1/2 the cost of TV
I’m going to do what I’m going to do as cheaply as I can
do a series that is twined off of a social network, but the social network can stand on its own
when he made quarterlife he purposely got rid of all of the television reality (demographics, “rooting factor,” etc.)
quarterlife yanked from TV after one episode. It was an internet show, not a TV show.
haven’t been able to raise enough money for a second season
trying to find a way to do a second season as internet only.
trying to offer something that other social networks don’t
paradigms of internet commerce come out of no where and hold sway until someone proves it untrue (i.e, social networks are a great investment one day, the next day social networks don’t monetize and are a bad investment)
We’re looking for an iPod moment where people see a new product and immediately adopt it. We’re waiting for that with scripted content. The one product that changes how people view content.
There’s been much discussion about the democratization of the tools but what’s really involved in taking your film from a concept to something an audience will pay to see? How can you fight your way through the clutter and what are the pitfalls to avoid when you decide to go it on your own?
Once you have your product and you’ve put years into it, its your baby and its not going anywhere. It’s out in the world, and sometimes the public needs to catch up to what you’ve already made.
10 Yards has a distribution deal with a sandwich shop with 5,000 locations to help with distribution (and CBS Sports, and Crocs)
Work with brands to get money ad spread the word
The secret to a core audience is an audience that doesn’t give a s**t how good it is. (i.e., fantasy football)
M dot Strange’s next film is funded off the dvd sales off of his last film
You can’t really have a day job and be a filmmaker. Be focused and not scattershot.
Wanted to make a documentary as compelling as a feature. Filmed the story unfold.
You have to be as dedicated to their lives as they are when doing a documentary. Then they start to trust you.
Its actually a challenge to live a normal life while you’re working on a film.
Your first feature is your film school. You’re never going to feel ready. You’re not supposed to feel ready, just get out there and do it.
Trying to make a really great film is hard core, but it is key to learn to making.
Technology is so great. Once you learn the technology then you can focus on your vision and not let the technical stuff get in the way.
Some films get too hung up on the traditional model and when that doesn’t happen they loose sight of trying to reach their audience themselves
Its time to stop expecting to sell your films to large distributors
You should be selling dvds at your festival screenings
know if the festival will have a big enough pay off to make going worthwhile
You need momentum to keep going and know that you’re on the right path
You’re going to get a lot of rejections from festivals. You can’t let rejection hurt your momentum.
It was much more rewarding to screen our movie for our own audience that we set up, than for festival audiences
Festivals are good for getting recognition in “the business,” but if you’re doing it just to make films then they do nothing for you
I saw the sales go up in the areas where I screened at a regional festival, its a great way to reach niche geographical audiences. Interacting with them was so rewarding.
Don’t pay the submission fees. The likelihood of rejection is just too great.
With 10 Yards the dvd came out before the theatrical tour. We were just trying to get as much as we could at the right time.
People love to interact with you after the screenings. Its a great time to sell dvds.
Split deal with the house - you split the sales money with the theater instead of having a flat fee
You can fill up the house for the night instead of the three people that would have shown up for the major studio release
build an impression and create your won story to help your distribution
Keynote by <a href=”http://www.imdb.com/name/nm0339254/”>Robert Greenwald</a> (Outfoxed, Wallmart the High Cost of Low Price, Iraq for Sale) of Brave New Films
Came from commercial world, felt the need to begin creating more meaningful content post death in family and 9/11
Switched from Avid to Final Cut Pro
Fell in love with purity of experience in documentaries
Producing is high class begging for money
The gatekeepers for distribution move incredibly slow
How do you get a political documentary out while the conversation about the subject material is still going on?
Independent distribution - MoveOn.org did a promotional email to get members to buy the DVD, Center For American progress held a screening in Washington DC (MoveOn.org raised $1 million through DVD sales)
MoveOn.org suggested having their members throw house parties to show the DVD to their friends
Mission of Brave New Films became clearer and clearer to create social change, film screening created discussions of what to do about the subject that required change
Our job is to put a spot light on the issue and bring attention to it
Iraq For Sale documentary led to Greenwald testifying before congress about war profiteering
Because of the time crunch to get relevant information to the public in short enough period that its still relevant, changed from full length videos to short videos to be posted on the web, short form has gotten 23 million views
Keeping videos under 4 minutes gets more views
email list is essential, media department focuses on blogs, another person focuses on involving groups (action, special interest, social), occasionally involves traditional media
Idea > video > email list > groups > blogs => Action
videos become a piece of the larger campaign
views are at your video for their own reasons, get involved in groups early using their own motivations
1st act is the documentary, 2nd act is the short internet films, 3rd act is live shows featuring bloggers that more reflect the American demographic landscape
Able to show numbers and results to potential fundraisers
For DIY DAYS NYC we ended up doing a different format then the other events in LA, SF and Boston. The NYC event was a casual dinner gathering and an open discussion. The evening was made possible thanks to Storybids and indieGoGo. It was an evening of good food and conversation. Dinner guests included Ted Hope, Faye Dunaway, Lance Hammer, Susan Buice, Paul Rachman, Lance Weiler, Arin Crumley, Joseph Morin, ...
Nick Braccia reports - I’m new to the WBP crew and wanted to kick-off my involvement with a brief and practical outline of introductory steps to help you make the transition from mono-media storyteller (in this case, film) to transmedia storyteller. In time, this evolution will help you to grow (and strengthen) your audience.
Like many contemporary transmedia story architects, I was first exposed to this expansive medium back in 2001, ...
Scott Kirsner sat down with Fred Seibert the other day to have a discussion about the future of web content. Fred Seibert was a key creative force at Nickelodeon, MTV, and Hanna Barbera, and now runs nextnewnetworks and Frederator, both of which focus on creating and distributing content for the digital realm, and building communities around it.
DIY DAYS Boston presentation - Xiaochang Li and Ana Domb from MIT’s Convergence Culture Consortium look at how media content spreads in the current landscape and how the audience engages with it. Moving away from the “viral” metaphor that strips the user of its agency, they examine the shift away from a “sticky” model to a “spreadable” one. This notion of spreadability is intended as a contrast to older models ...
Alex Johnson reports - A couple of weeks ago I took part in Power to the Pixel, a three day Digital Distribution & Film Innovation Forum in London. I gave a 15 minute presentation on the following issues: As technology shifts, audiences are evolving at a startling rate. Who are they, where are they, and what are they doing? How does the media producer keep up with and define ...
Power the Pixel videos are now live. Timo Vuorensola explains how he and his team fully embraced the concept of crowd-sourcing. Star Wreck: In the Pirkinning was a huge collaborative effort made by a core group of 5 people in Finland, and a community of about 3,000 volunteers from around the world. The film was a major online hit and has been downloaded over 8 million times.
Lisa Salem reports - At Power to the Pixel, I asked Arin Crumley and M Dot Strange the same three questions:
How do you see your relationship with your audience?
How do you integrate your audience into your lifestyle?
How do you compartmentalize your audience community into the big picture of what you’re doing?
I was curious to see how they were going to interpret them.
Arin’s answers turned into a 90 minute thought-trail (I’d ...
Lisa Salem reports - This is the first in a series of posts out of Power to the Pixel 2008 - which was a pretty mind-blowing experience for me. M dot Strange was the first person I interviewed and he quickly got me questioning some of my assumptions about whether or not you get to choose your core audience, or whether it’s actually them who choose you:
On the Power to ...
4 films, 35 cities, 1 van - welcome to the Rangelife DIY tour. We catch up with the boys in Santa Fe, where they prank Steven Seagall, sing karaoke, and get beer sprayed in their faces. Actually just Brian on that last one. WATCH THE VIDEO
As the landscape changes new outlets and services are emerging. With so many choices what is a filmmaker to do? But most importantly what are they going to do for you? The system is in flux and there are no rules. This is your chance to let your voice be heard: have a say in how outlets and services think about working with you and for you. Panelists: Scilla Andreen ...
